How tangible mock-ups support design collaboration This paper is a contribution to a more conscious use INTRODUCTION of tangible mock-ups in collaborative design This paper addresses problems related to using tangible mock- processes. It describes a design team’s use of mock- ups and the level of detail and finish in these prototypes in ups in a series of workshops involving potential collaborative design processes. Within product development and system design producing and using various design models customers and users. Focus is primarily on the use of has for long been viewed as a central part of the design three-dimensional design mock-ups and how process. For instance Buur and Andreasen describe product differences in these affected the dialogue. Reflective development as a modelling activity where the designer’s work conversations were established by using tangible is a progression between models with different purposes mock-ups as “things-to-think with”. They served as throughout the development process. They describe modelling boundary objects that spanned the gap between the as an important tool for the designer to describe, visualize and sculpture her thoughts when designing by herself or when different competencies and interests of participants in designing or communicating with others [10]. design. The design mock-ups evoked different things from different participants whereas the challenge for Among others Preece [20, 21] and Beyer and Holtzblat [3] the design team was to find boundaries upon which stress the importance of using various prototyping techniques in user-centred system design. According to Preece et al. [21] everybody could agree. The level of details “a prototype is a limited representation of a design that allows represented in a mock-up affected the communication users to interact with it and to explore its suitability [21, p. so that a mock-up with few details evoked different 241]. They continue to write that prototypes can take many issues whereas a very detailed mock-up evoked a different forms. A prototype can for instance be a scale model smaller variation of issues resulting in a more focused of a house or product, a piece of software, a paper-based communication. outline of one or more screens, a video-simulation of a work task or a three-dimensional mock-up of a workstation. Preece et al. divide prototypes into two categories: low-fidelity prototypes, and high-fidelity prototypes. Low-fidelity Eva Brandt prototypes should not be kept and integrated into the final Center for Design Research product. They are often made of simple and cheap materials Danmarks Designskole like paper and cardboard which results in prototypes that are Strandboulevarden 47 very different from the final design. Low-fidelity prototypes DK-2100 Copenhagen Ø are often cheap, fast to produce and modify. Examples are storyboards and mock-ups. According to the Concise Oxford Denmark Dictionary a mock-up is an “experimental model showing [email protected] appearance (part of) proposed book, ship, etc.” [25, p. 650]. The other prototype category is high-fidelity prototypes that look more like the final design and which are made of the same materials as the final design. High-fidelity prototyping is more time-consuming and hereby more expensive than producing low-fidelity prototypes. An example is a software system developed in Visual Basic. Prototypes can be used in a variety of ways. For instance they can support designers and stakeholders to choose between different design alternatives, to test technical aspects of an idea or concept, to clarify requirements, test usability, or check if a certain design direction is in line with other parts of the design [21]. This paper focuses on the use of three-dimensional mock- ups in collaborative design sessions. The mock-ups belong in the low-fidelity category. When the purpose is to try out future use situations in collaborative design among others Bødker and Buur stress the importance of using tangible prototypes as one can interact with them, get hands-on experiences, the prototypes can be held, placed, pointed at etc. [11]. Carroll describes the use of mock-ups in general in scenario-based design [12], Binder [5] has focused on how users with simple cardboard mock-ups as props can create improvised scenarios in their own environment, and Brandt and Grunnet [8] have described how drama and mock-ups can help evoking possible futures. Even though that several authors in general terms argue for A colleague and I were invited as facilitators because the producing and using mock-ups, their role in collaborative WORM team wanted to have ongoing evaluation and critique design and how they influence the communication between of this new type of collaboration by some external participants, different stakeholders are poorly investigated. This paper and because we had experience with user involvement from include: What to discuss and the level of details in other projects. All the workshops have been video-recorded collaborative design with customers and users, how tangible and in the following examples of transcripts from these are mock-ups act as boundary objects between participants having discussed. various competencies and interests, and how the level of details and the finish of the mock-ups affect the communication and hereby the outcome of the collaboration. PROTOTYPES; ‘THINGS-TO-THINK WITH’ Buur and Andreasen [10] give examples of models in mechanic, electronic, and software design and present a model THE WORM PROJECT morphology as a convenient system for categorizing important In a large company in Denmark a design team was to develop a aspects of all these. Their design model morphology is divided product program for machine manufacturers in the food in two parts; the modelling activity and the design model itself industry. The machine manufactures develop special purpose as illustrated in figure 2. According to Buur and Andreasen, the machines and transportation equipment for dairies, slaughter- design morphology is an attempt to describe important aspects houses and cheese factories, for example. The product program the designer must consider before building a model. These was to be a complete “building kit” consisting of components aspects are: The object (the product to be designed and like motors, valves and cylinders. To assure anonymity the sometimes also its surroundings), the properties to be project described will be called the WORM project. WORM is modelled, the purpose of modelling, the user of the model, the just a name. It is not an acronym of any kind. code (or ‘modelling language’), and the medium. Buur and Andreasen claim “when using this (morphology), it is possible The WORM project succeeds a first generation of products, to describe precisely the purpose of the intended modelling and which were developed under a rather high degree of secrecy. the characteristics of a suitable design model type” [10, p. This pre-existing product program was developed behind 157]. closed doors, which secured advantages in terms of novelty on the market, but also many believe it did not attend to the detailed requirements of customers in the design of individual components. With this in mind, leaders of the WORM project decided to involve core customers and users in the design of the new product line. The customers were machine manufactures and the “users” were technicians from different companies in the food industry in Denmark. Figure 2. ‘Morphology of design modelling characteristics’ [10]. The hatched area illustrate that for instance more than one characteristics of the object were addressed using the same mock-up during a workshop in the WORM project, e.g. to verify, evaluate, specify, and generate ideas from. While the major categories in this design morphology are useful as an overview of important aspects to consider before building a model and these considerations can help the designer choose, build, and use appropriate models for different purposes my findings show that when models are used in a collaborative design setting it is important not to be too focused on one particular purpose of the model as it can Figure 1. At the WORM project 10 - 15 people participated in unnecessarily limit the designer and users in their search for each workshop. The customers and users were invited in pairs, better solutions. In my attempts to use this morphology as a so that both customers (machine builders) and end users starting point for analysis of what went on in several (technicians) from the same industry were present. workshops I drew the hatched areas in figure 2. The areas show how more than one characteristic from each class were For one and a half years I have been involved in action addressed using the same mock-up during a workshop. If the research [6] arranging, holding and evaluating workshops with purpose of the scheme is to make clear and set apart different customers and users in collaboration with the design team (for phases and steps in designing it seems not to describe a more elaborated description of the WORM project see [7]). designing in the WORM project very well. Four workshops were held at intervals of 3-4 months. Each workshop lasted one-day (figure 1). Customers and users were Buur and Andreasen stress that when mechatronic products are invited in pairs to the workshops to assure that both customer developed at least three different engineering fields are and end-user from the same line of business were present. For involved; mechanics, electronics and software, and that the instance participated a customer that designed and difference in engineering fields complicates the collaboration manufactured the applications in slaughterhouses and a user because the specialized education makes it difficult to that took care of the daily maintenance in a specific understand each others problems.